Leonardo
Vol. 35, Issue 1 (2002)

Leonardo is a print journal, published five times a year. Leonardo is edited by Leonardo/the International Society for the Arts, Sciences and Technology, and published by the MIT Press.

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ARTISTS' ARTICLES

The Community Is Watching, and Replying: Art in Public Places and Spaces
by ANNE BRAY

ABSTRACT: During viewing of most objects in one's everyday environment, the binocular and monocular relative depth cues interact in a harmonious, concordant and reinforcing manner to provide perceptual stability. However, when one views pictorial art, these binocular and monocular cues are discordant, and thus a perceptual "cue conflict" arises. This acts to reduce the relative apparent perceived distance of objects in a painting, thus producing overall perceptual depth "flattening." The theory and physiology underlying this phenomenon are discussed.

Analytical Photography: Portraiture, from the Index to the Epidermis
by KEN GONZALES-DAY

ABSTRACT: The current abundance of scholarship concerning the technological development of photography has coexisted with a proportionate absence of recent critical analysis of photographic images. Given photography's long-standing embrace of technological advances, even predating the portable camera or roll film, this article revisits some early uses of scientific photography in order to clarify the impact of digital technology on contemporary photographic practice. The author uses scientific photography and photographic archives as the groundwork for photographic experiments into what might be called analytical photography. The essay concludes with a reconsideration of the photographic portrait.

GENERAL NOTE

Is One Eye Better Than Two When Viewing Pictorial Art?
by KENNETH J. CIUFFREDA and KIMBERLY ENGBER

ABSTRACT: During viewing of most objects in one's everyday environment, the binocular and monocular relative depth cues interact in a harmonious, concordant and reinforcing manner to provide perceptual stability. However, when one views pictorial art, these binocular and monocular cues are discordant, and thus a perceptual "cue conflict" arises. This acts to reduce the relative apparent perceived distance of objects in a painting, thus producing overall perceptual depth "flattening." The theory and physiology underlying this phenomenon are discussed.

HISTORICAL PERSPECTIVE

SPECIAL SECTION
CREATIVITY AND COGNITION 1999

Introduction. Part I: Perspectives from the Third Symposium
by LINDA CANDY

A Self-Defining Game for One Player: On the Nature of Creativity and the Possibility of Creative Computer Programs
by HAROLD COHEN

ABSTRACT: The AARON program has been generating original artworks for almost 30 years, but is denied by its own author to be creative. The author characterizes creativity as a directed movement towards an ill-defined but strongly felt end-state for the individualês work as a whole, not as a characteristic of any single work and profoundly knowledge-based in the sense of externalizing the individualês internal world-model and system of belief. He suggests that a creative program would be one that was able to modify the belief-based criteria that inform the rule-base in which expert knowledge is represented, not one that is able simply to modify the rule-base itself.

Structure in Art Practice: Technology as an Agent for Concept Development
by ERNEST EDMONDS

ABSTRACT: The exhibition Constructs and Re-Constructions provided a survey of the authorês artwork and formed the basis for this paper. It included four prints, consisting of notes based on early documentation, representing four different conceptual stages in using computer technology. As each is discussed in turn, it is shown that the computer provides a significant enhancement to our ability to handle and consider the underlying structures of artworks and art systems in the many forms that they may take. In the work discussed, while the conceptual developments are the key issues, the role of the technology in encouraging, enabling and inspiring them has also been central.

Drawing as a Gateway to Computer-Human Integration
by MICHAEL QUANTRILL

ABSTRACT: In the process of creativity, digital technology offers new ways to translate and transform. The author presents his approach to drawing as a gateway to exploring these possibilities. His particular concern is with the notion of computer-human integration. He suggests that possibilities offered by such integration will enable forms of expression unique to this process to emerge. Two systems that the author has used to further his search are described. His reflections on how a particular system of computer-human integration might develop in the future are noted.

SPECIAL SECTION
SIGGRAPH 2000 EDUCATORS PROGRAM

Special Section Introduction
by VALERIE MILLER

A Collaborative and Interdisciplinary Computer Animation Course
by DAVID S. EBERT AND DAN BAILEY

Interaction in an IVR Museum of Color: Constructivism Meets Virtual Reality
by ANNE MORGAN SPALTER, PHILIP ANDREW STONE, BARBARA J. MEIER, TIMOTHY S. MILLER and ROSEMARY MICHELLE SIMPSON

NEW MEDIA DICTIONARY
by LOUISE POISSANT

Part V: Copy Art

Reviews by WILFRED NIELS ARNOLD, ROY R. BEHRENS, ANNICK BUREAUD, SEAN CUBITT, MIKE LEGGETT, MIKE MOSHER, ROBERT PEPPERELL, DAVID TOPPER

A Response to William Mitchell on "The Death of Drawing"
by HELEN LEVIN